EXHIBITIOiN
OF
"FAKES"
AND
REPRODUCTIONS
PENNSYLVANIA MUSEUM
MEMORIAL HALL, FAIRMOUNT PARK
PHILADELPHIA
1916
E «
U <
EXHIBITION
OF
a
FAKES"
AND
REPRODUCTIONS
Agesilaus, the Lacedaemonian king, on being
invited to hear a man who mimicked the nightingale
to great perfection, declined by saying, " I have
heard the nightingale herself." Plutarch's Agesilaus.
PENNSYLVANIA MUSEUM
MEMORIAL HALL, FAIRMOUNT PARK
PHILADELPHIA
1916
PREFACE
IK COUNTERFEIT INC OF ART
objects is not a recent practice. The
Chinese have for centuries imitated and
reproduced their own famed fabrics of
earlier times, and have placed upon them
the same characters or marks which distinguished the
originals. Tn Europe the forging of bric-a-brac can
be traced back for a century or more. Wherever
collectors of rare and beautiful art works sprang up,
skilled copyists began to turn their talents to profit-
able account. As early as the year 1815, one Bettignie,
an accomplished potter of Saint-Amand-les-Eaux, in
France, commenced the imitation of the beautiful soft
paste porcelain of the Sevres factory, and examples of
his work which are still extant are among the most
perfect reproductions of that ware which have ever
appeared. When Lady Charlotte Schreiber, the noted
china collector, visited St. Amand in 1877 she found
a Bettignie still in possession of the works. He was
then reproducing Worcester porcelain and the pate
tendre of Sevres, in white, which wares were bought
by dealers in Paris, to be there painted and duly sold
as old.
About the middle of the nineteenth century
wealthy Americans, traveling abroad, commenced to
gather together representative examples of pottery
and porcelain from the celebrated factories of Europe
and brought back with them extensive and valuable
collections of these w^ares. But among these treasures
were numerous pieces of questionable character which
have since proved to be spurious. No collector of that
period appears to have entirely escaped the wiles of
the forgers, who were even then plying their trade,
with little chance of detection. Most of these collec-
tions have since been sold or have passed into the
possession of public museums, and some of them, under
expert inspection, have been gradually reduced by
the elimination of fraudulent specimens. In certain
museums, however, these collections are still exhib-
ited intact, no attempt having been made, for reasons
of policy, to withdraw the obviously fraudulent pieces.
After the Centennial Exhibition, which was held
in Philadelphia in 1876, the number of art collectors
increased rapidly. As certain classes of objects became
popular, their modern counterparts appeared in in-
creasing numbers, but some time elapsed before col-
lectors began to discriminate between the genuine and
false. Collections formed about that time frequently
contain many rare and priceless things, but among
them will usually be found a large proportion of
worthless reproductions. As authentic objects became
scarcer, the modern mock wares became more plenti-
ful, and within the past twenty years the latter have
outnumbered the former a thousand to one.
The porcelain of the Sevres factory, both soft and
hard paste, has been imitated more extensively than
any other ware of modern times. To such an extent
has the manufacture of counterfeit Sevres pieces in-
creased that a French newspaper recently stated,
probably without exaggeration, that the sale of sham
porcelain attributed to this factory nets the counter-
feiters 16,000,000 francs every year, yielding retail
dealers in Europe and America the enormous sum of
48,000,000 francs, or $9,600,000. It is, therefore, not a
matter for surprise that almost every American tourist
who has returned from abroad has brought home with
him some of these worthless fabrications.
A prominent house in Paris manufactures repro-
ductions of almost every known ceramic ware. These
4
include copies of examples from the Louvre, Cluny,
Sevres, Rouen, Nevers, South Kensington, Bethnall
Green, Wallace and Dresden Museums, and from pri-
vate collections. Among the wares reproduced are
early soft paste porcelains of St. ("loud, Mennecy,
Chantilly, Vincennes, Sevres and Tournay. Among
the hard paste imitations are those of Oipo di Monte,
Meissen and other famous factories, and the porcelains
of China and Japan; among the English soft paste
reproductions are those of Chelsea, Derby, Worcester,
Bow and Lowestoft. Included in the imitations of
faience are Persian and Hispano-Moresque pottery;
tin enameled wares of Delft and the various French
factories; Italian maiolica; enamels on metal, imitat-
ing those of Limoges, Battersea, China and other well-
known wares produced from the twelfth to the eight-
eenth century.
Some of these reproductions have deceived the
best experts. As stated in Lady Charlotte Schreiber's
Journals, this noted collector, as long ago as 1878,
bought in Madrid some lovely vases. A friend after-
wards expressed a doubt as to their genuineness, and
when she and her husband arrived in Paris they took
the cover of one of the vases to the manufacturer, "who
owned himself the maker of it. So those vases," she
writes, ''have proved themselves all wrong and cannot
go into the collection. I fear we shall lose heavily on
them, but they are so pretty that I regret them more
for their beauty than for the money's worth. This has
been rather a costly lesson."
Next to the porcelain of Sevres, that of Capo di
Monte has been most extensively counterfeited, and
in this country fraudulent examples of the Italian ware
are probably as abundant as those of the national
manufactory of France. They are found in almost
every antique shop and bric-a-brac store in our larger
cities ; they are offered for sale in our prominent
5
jewelry establishments and figure extensively among
the wares sold by well-known auction houses. Many
of them are elaborately modeled and artistically col-
ored and entirely suitable for decorative purposes, but
they are not what they are represented to be. true
examples of the noted products of the old Capo di
Monte works, and are consequently unworthy ^i a
place in any public or private collection.
The forgers have turned their attention to all of
the decorative as well as the fine arts. — erlass, enamels,
metal work, ivories, furniture, textiles. There is per-
haps no public or private collection of any importance
in this country which does not contain some spurious
objects, and we know of no European museum which
is entirely free from forgeries.
The present exhibition of "Fakes and Reproduc-
tions" is necessarily confined to the industrial arts,
and, on account of the limited space at command, to
objects of comparatively small size. The collection
consists of examples of counterfeits and reproductions
which have been acquired by the Museum from time
to time, in connection with the work of the Bureau
of Identification, and through gift or bequest, aug-
mented by specimens which have been lent by dealers,
collectors and other museums, to whom they came as
the price of experience. The purpose of the exhibition
is the education and protection of collectors and the
general public, so far as may be. against the wiles of
the forgers, by exhibiting side by side, for comparison
and study, genuine antiques and their modern coun-
terparts.
The genuine pieces, which are shown for compar-
ison with the fakes and reproductions, are indicated
by black cards with gold lettering.
Edwin AtLee Barber
CATALOGUE
PORCELAIN
CHINESE
1. PLATES (6) — Modern imitation of Chinese por-
celain of the 18th century. Made in Paris,
France.
Note the creamy color of the paste and the
crudely drawn decoration.
2. PLATE— Chinese, Ch'ien-lung period (1736-1795).
A GENUINE piece with the same decorative
design as the preceding.
Note the bluish tint of the paste and the fine-
ness of the drawing, when compared with the
modern copies.
3. PLATE — Modern imitation of Chinese porcelain
of the 18th century. Peony and cock pattern.
Made in Paris, 18th century.
Note the creamy tint of the paste.
4. PLATES (Pair) — Modern imitation of Chinese
porcelain of the 18th century. Peony pattern.
Made in Paris.
Note the muddy and patchy appearance of the
decoration and irregular bluish tint of the glaze,
produced artificially to imitate the old Chinese.
5. PLATE — Modern imitation of Chinese porcelain
of the 18th century. Peony and cock pattern.
Made in Paris.
Note the muddy and irregular appearance of
the colors and the roughness of the execution.
6. GINGER JARS (Pair)— Modern imitations of old
Chinese porcelain of the 17th century (K'ang-
hsi period). Made in Budapest, Hungary.
Note the pronounced greenish tint of the
glaze, the poor quality of the colors and the
crudeness of the decoration.
7. TEAPOT — Modern imitation of the famille rose,
of China, of the 18th century. Probably made in
Paris.
Note the irregular and poor quality of the
rose ground, which has flaked off in spots.
8. COVERED JAR — Modern imitation of a baluster-
shaped jar of Chinese porcelain of the 18th cen-
tury, with rose ground and reserved medallion
painted with the cock and peony pattern. Made
in Paris.
Note the muddy and thick appearance of the
enamel colors and the artificially tinted white
ground.
9. VASE — Modern imitation of Chinese porcelain of
the 18th century. Probably made in Paris.
Note the muddy and irregular appearance of
the yellow ground and the poor quality of the
iridescent lustre of the raised leaves. While this
is evidently intended to imitate Chinese ware, it
is different in modeling, coloring and lustre from
anything which has come out of China.
10. TEAPOT — Modern imitation of Chinese porcelain
of the 18th century. Made in Paris.
Note the crudeness of the modeling and the
decoration and the irregular streaked bluish tint
of the glaze.
11. CUP AND SAUCER— Modern imitation of Chi-
nese porcelain of the 18th century (Ch'ien-lung).
Made in Paris.
Note the muddy and smeary appearance of the
enamel colors and the irregular bluish tint of the
glaze.
12. PLATE- Modern imitation of Chinese porcelain
of tliu 18th century. Made in Paris.
Note the crude finish of the edges and muddy
appearance of the enamel colors and the streaky
appearance of the bluish glaze.
13. CREAM JUG — Modern imitation of Chinese por-
celain of the 18th century. Made in Paris.
Note the uneven tinting of the rose ground and
the crudeness of the modeling.
14. PLATE — Modern imitation of Chinese porcelain
of the 18th century. Made in Paris.
Note the pronounced muddy appearance of the
enamel colors and the streaky, bluish tinted
glaze.
15. VASES (Pair) — Modern imitation of old Chinese
porcelain. Made in Paris.
Note the crudeness of the decoration and the
irregular bluish tint of the glaze.
16. COVERED JARS (Set of Three) — Baluster
shape. Modern imitation of old Chinese porce-
lain. Made in Paris.
Note the crude modeling of the lion finials and
the coarse drawing and coloring of the decora-
tion.
17. CUP AND SAUCER— Modern imitation of Chi-
nese porcelain of the Ch'ien-lung period (late
18th century). Peony and cock pattern. Made
in Paris.
Note the muddy appearance of some of the
colors and the artificially tinted glaze, intended
to imitate the natural bluish tint of genuine
Chinese porcelain.
18. CUP AND SAUCER— Cafe-au-lait glaze. Genu-
ine ware made in China in the 18th century, but
decorated later in Europe by wheel-cut designs
of birds and flowers. Hence not entirely genu-
ine.
19. PUNCH BOWL- A genuine example of Chinese
porcelain decorated with underglaze blue de-
signs, of the 18th century, but redecorated in
Europe by painting undecorated parts with oil
colors over the glaze, a process known as "clob-
bering." This superficial decoration can readily
be scraped off.
20. VASE — Relief floral decoration on white glaze.
Modern imitation of old Chinese ware.
21. \ ASE — Lemon vellow crackled gflaze. Modern
imitation of old Chinese porcelain.
22. VASE — Baluster shape, purple glaze. Modern
imitation of old Chinese porcelain.
23. VASE — Pink souffle glaze. Modern imitation of
old Chinese porcelain.
24. SAUCER — Circular medallions with figure and
floral paintings reserved in coral red ground.
Modern French imitation of old Chinese porce-
lain.
25. VASE — Mustard yellow glaze. Modern imitation
of old Chinese porcelain.
26. PLATE (Deep) — Cock and peony pattern in en-
amel colors, surrounded by rose ground, with
reserved medallions on marly containing land-
scapes in colors. A GENUINE example of the
Ch'ien-lnng period, shown for comparison.
Note the accuracy of the painting and the
beauty and richness of the colors.
27. PLAQUE — Cock and peony pattern in enamel
colors. White slip design around marly. A
GENUINE example of the Chia-ching period,
shown for comparison.
28. PLATE — Cock and peony pattern in enamel col-
ors. Border, "Octagon and Square" diaper, with
three irregular medallions containing flower and
10
fruit designs. A GENUINE example of the
Ch'ien-lung period from which the preceding was
a »pied.
29. CUP AND SAUCER Cock and peony design in
enamel colors, of the Ch'ien-lung period. GEN-
UINE pieces, shown for comparison
30. BOWL- Reticulated porcelain, decorated with
flowers in enamel colors. Made by Morice
Fischer at Herend, Hungary, in imitation of
Chinese porcelain of the 18th century.
31. CUP AND SAUCER— Same.
32. il< >T WATER JUG— Decorated in enamel colors
in Chinese style. Handle and finial in form of
mandarin. Made by same.
33. PLATE — Decorated with chain of fifteen links.
each containing the name of a state. A modern
reproduction of the Chinese porcelain set pre-
sented to Martha Washington by Capt. Jacob
van Braam, several pieces of which are in the
National Museum, Washington. Painted on
modern Limoges porcelain.
34. VEGETABLE DISH— Same.
Lent by Mrs. Emma 13. Hodsre.
J o
CAPO DI MONTE
35. TANKARD — Modeled decoration in high relief,
representing warriors in battle, with hinged lid
surmounted by a plumed helmet, and handle in
form of a griffin. Modern imitation of hard paste
Capo di Monte porcelain of the 18th century.
Forged mark of the Meissen factory. Probably
made in Paris.
Note the crudeness of the colors and decora-
tions.
ii
36. TANKARD— With repousse metal lid. Nude
figures of boys in high relief around sides. Mod-
ern imitation of hard paste Capo di Monte por-
celain of the 18th century. Probably made by
Ginori, of Doccia, Italy.
Note the whiteness of the glaze and the crude-
ness of the painting.
37. VASE — Urn-shaped, with horn-shaped handles,
and cover surmounted by a modeled boy. Clas-
sical pastoral figure scene in relief extending
around the entire circumference. Modern imi-
tation of hard paste Capo di Monte porcelain of
the 18th century. Made by Ginori, of Doccia,
Italy.
Note the want of sharpness of the reliefs and
the whiteness of the glaze. This piece is marked
with a crowned capital letter N in blue, whereas
the genuine hard paste Capo di Monte of this
character was seldom, if ever, marked.
38. VASE — A companion to the preceding.
39. VASE — Large ewer-shaped vase with figure deco-
ration modeled in high relief. Handles in form
of a grotesque dolphin surmounted by a woman's
head. Modern imitation of hard paste Capo di
Monte porcelain of the 18th century. Made by
Ginori, of Doccia, Italy.
Note the gaudy colorings and the whiteness of
the glaze. It is marked with a crowned N in
blue, showing its spurious character.
40. VASE — A companion to the preceding but with
different figure decoration. These elaborate and
effective pieces are good examples of the so-called
Capo di Monte porcelain which has been manu-
factured so extensively in Italy for almost one
hundred years and brought in such abundance
into this country.
12
39, 4°. Pair of Porcelain Ewers
Modern Imitations of Old Capo di Monte
41. DISH — Oval form, handles representing mer-
maids. Relief and painted decorations on sol-
idly gilded ground. A modern imitation of Capo
di Monte porcelain of the 18th century.
42. PLATE — Figure decoration in relief around marly.
Cupids painted in centre. A modern imitation of
Capo di Monte porcelain, bearing the mark of the
Meissen factory.
13
43. CHOCOLATE POT — Figure scenes in relief; on
one side the "Judgment of Paris," on the reverse
a classical scene. This is a GENUINE example
of Capo di Monte of the 18th century, which is
exhibited here for the purpose of comparison.
Not marked.
Note the sharpness of the reliefs, the fineness
of the coloring, particularly the stippling of the
flesh tints, the slender and gracefully modeled
figures, and the beautiful finish.
44. SEAU, or ICE BOWL — Figure decoration in high
relief, representing Apollo and Daphne, with
handles in form of hooded dolphin. This is a
GENUINE example of Capo di Monte porcelain
of the 18th century, and a particularly choice
piece of this style of ware. Not marked.
Note the pronounced grayish or bluish tint of
the paste and glaze, the excellence of the model-
ing and the carefully executed coloring.
45. CUP AND SAUCER— Figure decoration in relief,
representing on one side of the cup the "Tri-
umph of Bacchus" and on the other Ceres in her
chariot. These are GENUINE pieces of Capo
di Monte hard paste of the 18th century, and
came from the celebrated collection of Rev. T.
Staniforth, who secured them at the noted sale
of the Bernal collection in 1855.
Note the grayish tone of the glaze, the sharp-
ness of the modeling and the fineness of the col-
oring. These pieces are not marked, as genuine
Capo di Monte porcelain of this style was rarely,
if ever, marked, while the reproductions are
almost invariably marked.
46. CUP AND SAUCER— Decorated with figure and
floral design in relief. A modern reproduction.
This cannot be classed with forgeries, since it
bears the mark of the Meissen factory, the
14
o7->7*
crossed swords in blue, bul it is an attempl to
reproduce the Capo di Monte suit-.
Note tlie poor modeling, the lack of sharpness
in the reliefs and the crude coloring.
47. TILE or PLAQUE — Modern imitation of Capo di
Monte hard paste porcelain of the 1 Si h century.
Biblical figure scene (St. Christopher) in high
relief. While the modeling of this example is
better than the average of such imitations, in the
boldness of the reliefs, the coloring is crude and
garish and the stippling of the flesh tints is coarse
in texture, while the porcelain is much whiter
than the genuine old Capo di Monte ware.
Probably made at Doccia, Italy, late 19th cen-
tury.
48. BENITIER, or HOLY WATER CUP— Modern
imitation of Capo di Monte hard paste porcelain
of the 18th century. The modeled figure design
in the centre represents the Holy Family. The
coloring of the reliefs, including the rococo
frame, is muddy and imperfect, while the attempt
at gilding has proved a failure.
Made at Doccia, Italy, late 19th century.
49. BONBON BOX— With gilded metal mounts.
Modern imitation of Capo di Monte hard paste
porcelain of the 18th century, with classical
figure scenes in relief. The mark on the base
is a crowned N in blue, which stamps it as a
forgery. M'ade at Doccia, Italy, late 19th cen-
tury.
Note the crudely modeled reliefs, the extreme
carelessness of the painting and the intense
whiteness of the glaze, all of which are features
not found in genuine Capo di Monte ware.
15
SEVRES
50. SCENT BOTTLE — Soft paste porcelain known as
fritted porcelain or pate tendre. Turquoise blue
ground with reserved white medallions contain-
ing portrait of Marie Antoinette, cupids, tro-
phies and monogram, surrounded by rococo gold
frames. Date marked on base, 1779. A beauti-
fully executed specimen but a dangerous forgery.
Important decorations of this character were
never painted at the Sevres factory on insignifi-
cant pieces of this kind.
51. CUP AND SAUCER— Hard paste porcelain dec-
orated with figure scene in colors, in a rectangu-
lar gold framed medallion, with imitation pearl
settings, surrounded by dark blue ground. Sau-
cer decorated with imitation pearls and rubies.
Marked with a double L date mark of 1771.
Modern imitation of early soft paste Sevres.
Jewel decoration was not attempted at that fac-
tory until 1778. A forgery throughout, paste,
decoration and mark.
52. CUP AND SAUCER— Soft paste porcelain with
beautifully painted heads of French court
beauties, Dubarry, Victoire and de Fontanges,
surrounded by jeweled frames representing tur-
quoise, with imitation pearls, rubies and emer-
alds on dark blue ground. On base the factory
mark of 1753. A modern French imitation of
the celebrated jeweled porcelain of the Sevres
factory which was not produced until 1778,
twenty-five years later than the date indicated
by the mark.
53. TEA SET — Teapot, sugar bowl, creamer, two cups
and saucers and tray. Light blue ground with
reserved white medallions decorated in colors
with cupids and flowers and monogram of Louis
Philippe in gold surrounded by gold rococo
frames. On base, the forged factory and deco-
16
rator's marks of 1840 and 1X44. Modern repro-
ductions. Made in Paris. Forged throughout,
paste, decoration and marks.
54. TEA SET — Teapot, sugar bowl, cream jug, two
cups and saucers and square tray. Decorated
with portrait medallions of Louis' XVI and
French court beauties, surrounded by rococo
gold frames on light blue ground. On bottom,
forged double L mark of Sevres soft paste por-
celain of the 18th century. Made in Paris.
55. VASE — Tall slender form, dark blue ground with
gold decoration consisting of elaborate mono-
grams composed of the double L surmounted by
a crown. Ormolu mounts, including base and
finial. Modern forgery of Sevres porcelain of
the early 19th century, with forged factory mark
of 1837 (overglaze instead of underglaze). Dec-
orator's mark of 1844 and mark of the Chateau
des Tuileries. Forged throughout.
56. DISHES (2) — Circular form, large size. Decora-
tion in colors, two cupids holding a floral wreath
enclosing the monogram of Louis Philippe sur-
rounded by gold circles. Broad outside band of
light blue. A piece of Sevres hard paste, dated
1846, the decoration having been painted at a
later date outside of the factory.
57. CUP AND SAUCER— Dark blue ground with
gilded decoration and forged double L mark in
gold. [Modern imitation of early Sevres soft
paste.
58. VASES (Pair) — Baluster shape, dark blue ground
with broad central band painted with landscape
and figure scenes. Bold decoration of rococo
design and groups of trophies. Modern imita-
tion of early soft paste Sevres, marked with the
double L cipher used on Sevres porcelain in 1763.
Made in Paris, late 19th century. Forgery
throughout, paste, decoration and mark.
17
56. Hard Porcelain Dish
Modern Imitation of Sevres Porcelain
Louis Philippe Period
59. CUPS AND SAUCERS (2)— Light blue ground
enclosing figure scenes and flowers in colors sur-
rounded by rococo frames in gold. Hard paste
porcelain made at Sevres between 1870 and 1876,
with genuine date marks cut through, indicating
that they left the factory in a white condition
and were decorated later outside.
60. CUP AND SAUCER— Bleu Agate ground with
gold decoration. Pieces of Sevres hard paste
porcelain with incised mark of 1841. Gilded later
in Paris, hence not entirely genuine.
18
61. SMALL VASES ( Pair)— Decorated with gold and
small floral medallions in colors. Gilded handles
in form of human heads. Examples made at
Sevres in 1844 but decorated and gilded in Paris
at a later date.
62. PLATE — With scalloped margin. Decorated with
the letter N crowned in gold. On hack, factory
mark of 1860 scratched through. Also forged
Napoleon mark of 1868. Made at the Sevres
factor\- hut decorated later outside.
63. CUP AND SAUCER— Dark blue mottled ground
with gold tracery decoration. Pieces made at
Sevres in 1817 but gilded later in Paris.
64. C\J\> AND SAUCER— Chrome green ground and
gold decoration. Pieces made at Sevres in 1818
but gilded later in Paris.
65. COMPOTE- — Figure and floral decoration in col-
ors, surrounded by gold rococo frames on light
blue ground. Sevres porcelain with date mark
1868 cut through, showing that it was made at
Sevres but decorated later outside.
66. CUP AND SAUCER— Painted with portrait of
Marie Antoinette surrounded by gold rococo
frame, on light blue ground. Modern imitation
of old Sevres porcelain. Forged throughout.
67. COMPOTE — Decorated with cupids and floral
designs in colors with monogram of Louis Phil-
ippe in gold, surrounded by pink ground. Mod-
ern imitation of old Sevres porcelain. Forged
throughout.
68. PLATE — Decorated with figures of boys in colors
on white ground with dark blue marly embel-
lished with gold tracery. Date mark of 1861
cut through, indicating that the piece was made
at Sevres in that year and later decorated out-
side.
i9
69. PLATES (3) — Decorated with cupids bearing
floral wreaths in colors enclosing monogram of
Louis Philippe in gold. Margins with light blue
ground work with vine-leaf decoration in gold.
On base, Sevres date mark of 1874 cut through,
showing that the ware itself was made at the
Sevres factory in that year but the decoration
was done later outside.
70. PLATE — Decorated with figure scene in colors.
Gold tracery around border. On back, counter-
feit Sevres marks of 1846. Forged throughout,
paste, decoration and marks.
71. PLATE — Decorated with painting of woman.
Modern imitation of old Sevres porcelain.
Forged Sevres marks of 1843 and 1844. Coun-
terfeit throughout.
Lent by Mr. Albert H. Pitkin.
72. PLATE — Decorated with head of Michel de Mon-
taigne. Modern imitation of Sevres porcelain.
Forged mark of 1814-1824.
73. PLATE — Decorated with classical head in cameo
style. Modern imitation of old Sevres porcelain.
74. PLATE — Decorated with "Vue du Chateau de
Brinde-." Modern imitation of old Sevres por-
celain. Forged Sevres mark.
75. PLATE — Subject of decoration. Chinese fishing
scene. Gold and silver tracery on marly. A
GENUINE example of Sevres porcelain of 1841.
Note the delicacy and beauty of the decoration.
76. PLATE — "View in Isle of Cracatori.'' A GEN-
UINE example of Sevres porcelain of 1820.
Note the fine painting and the excellence of
the colors and gilding.
20
OTHER FACTORIES
77. PLATE — Decorated with floral (lesions and bear-
ing on the back the mark of the Nyon factory,
Switzerland — a fish painted in blue over the
glaze. This mark, which if original would be
under the glaze, has been painted over the im-
pressed mark of a modern maker. r \ ne back has
been filed to imitate wear. Probably made in
Paris.
78. PLATE — Modern imitation of old Dresden porce-
lain with floral decoration painted in colors and
border design in raised white slip. On back,
forged Meissen mark. Probably made in Dres-
den.
79. PLATE — Basket-work design in relief with sprays
of flowers painted in enamel colors. Openwork
border. Modern German imitation of old Meis-
sen porcelain.
80. PLATE — Floral decoration in colors. Elaborate
openwork border decoration. On back, forged
Meissen mark. Modern German imitation of old
Meissen porcelain.
81. PLATE — Decorated with bold floral design in col-
ors. Raised pattern around marly. Modern copy
of an old Meissen pattern but very curiously
bearing the forged date mark of Sevres porce-
lain of 1765.
82. PLATTERS (4) — Landscapes painted in colors in
the centre. Openwork border with gold decora-
tion. Forged mark of Amstel (Holland) factory.
Probably modern Dutch.
83. SAUCER — Monogram of George Washington in
gold in centre, surmounted by a floral wreath in
colors. Border design of festoons of leaves
in brown and bronze. Modern French porcelain.
21
84. SAUCER — Decorated with gold design on purple
ground. A genuine marked example of old
Vienna porcelain but decorated outside of the
factory.
85. LAYER — Side medallions imitating Wedgwood
jasper. A genuine marked example of old
Vienna porcelain but decorated outside of the
factory.
86. PLATE — Decorated with sprays of flowers. Forged
Xiderviller mark. Modern French forgery
throughout.
87. CANDLESTICKS (Pair )— Rococo design with
floral decoration in colors. Mark of the Herend
(Austria) factory. Modern imitation of Meissen
porcelain. Made by Morice Fischer. mid-19th
century.
Since these pieces bear the mark of the Herend
factory, where imitations of all celebrated wares
were made, they can hardly be placed in the cate-
gory of fakes but come under the head rather of
imitations.
88. CUP AND SAUCER — Decorated with painted
figure subjects ("Orpheus und Euridike"). False
mark of the Vienna factory painted over the
glaze instead of under. Impressed mark of the
Gotha factory.
The marks show that the ware itself was pro-
duced at Gotha, but decorated elsewhere, and
marked with a forged Vienna mark.
89. COVERED CUP AND SAUCER — Decorated
with figure medallions in colors, and gold bor-
ders. The saucer was made at Meissen, Ger-
many, the cup at some other Continental factory.
On the latter is a forged Copenhagen mark. The
decoration, which was done outside of either fac-
tory, is modern. A very curious combination of
ancient and modern work and of different places.
2.2
90. CUP AND SAUCER Genuine Meissen paste, as
shown by the crossed swords mark scratched
throuerh. Decoration done elsewhere.
l 6
91. CUPS AND SAUCERS (2) — Decorated with
floral designs in colors and raised pattern in
white slip. Modern imitation of Meissen porce-
lain by Samson, of Paris.
92. COVERED CUP— In form of a rose. Forged
Vienna mark. Modern imitation of Vienna hard
paste porcelain.
93. MUSTARD CUP— In form of a lemon on a leaf.
Forged mark of the Berlin factory. Modern imi-
tation of old Berlin porcelain.
94. FOUNTAIN — Figures of Venus, Juno and Jupi-
ter. Base and pillars decorated with miniature
Chinese figure scenes in colors and gold. Forged
mark of the Meissen factory. Modern imitation
of Meissen porcelain of the mid-18th century.
95. KNIVES AND FORKS (12)— Porcelain handles
painted with figure scenes. Modern imitations
of old Meissen.
Note the poor quality of the painting and the
modern steel blades and prongs. Probably made
in Dresden, Germany.
96. SUGAR BOWL AND CREAMER— Modern imi-
tation of Japanese porcelain, but bearing a forged
mark of the Meissen factory.
97. SAUCER — Bearing a false mark of the Strasbourg
(France) factory. Modern imitation.
98. PLATE — Decorated with birds in colors. Modern
imitation of old Meissen porcelain, with the AR
mark.
99. VASE — Cupids and flowers in full relief. Modern
imitation of old Meissen porcelain.
23
100. CLOCK — Cupids and flowers in relief. Modern
imitation of old Meissen porcelain, by Thieme,
of Dresden.
101. PERFUME VASE — Modern imitation of old
Tournay (France) soft paste porcelain, with
landscapes painted amund centre.
FIGURES
102. FIGURE — Winged girl with basket of fruit.
Modern imitation of old German ware.
Note the coarse modeling and the poor qual-
ity of the colors.
103. SCENT BOTTLE — Modeled in the form of a
monk carrying a goose in one hand, a basket of
eggs on one arm, and a sheaf of wheat on his
back in which is concealed a girl. The base
bears the mark of the Meissen factory. Mod-
ern German.
104. FIGURE — Boy with flute. Modern imitation of
old Hoechst porcelain. German.
105. FIGURE — Cavalier. Modern imitation of an old
Hoechst porcelain design.
106. FIGURE — Child with garden tools. Modern
imitation of old German porcelain.
107. VINAIGRETTES (Pair)— Figures of infants in
swaddling clothes. Modern imitations of old
Meissen porcelain.
108. VINAIGRETTE— Figure of infant in swaddling
clothes. Similar to preceding but of larger
size.
109. OX — Hard paste porcelain with forged Meissen
mark. Modern imitation. Probably made in
Paris.
24
110. BEAR — Soft paste porcelain. Forged Niderviller
mark of about 1792. Modern imitation of old
French porcelain.
111. MAN— With hat in hand. Hard paste porcelain.
Modern imitation of Meissen ware. Probably
made in Paris.
112. MAN — seated, with hurdy-gurdy. I lard paste
porcelain. Forged Meissen mark. Probably
made in Paris.
113. MAN— With cello on back. Mark of the Hoechst
factory. Modern imitation of old German pot-
tery.
114. MAN — In uniform of a guild. Modern imitation
of old Meissen hard paste porcelain.
115. MAN — Similar to preceding but in different atti-
tude.
116. DOG — In recumbent attitude. Modern imitation
of old Meissen hard paste porcelain.
117. MAN AND DOG— Modern imitation of old Chel-
sea porcelain.
Lent by Mrs. Emma B. Hodge.
118. GARDENER— A GENUINE example of Chel-
sea-Derby porcelain of about 1780. Shown for
comparison.
Note rich, creamy tone of the glaze as com-
pared to preceding.
118A. BUST OF LOUIS XVI— Modern imitation of
old Meissen porcelain. Made in Paris.
Lent by Miss Sarah Cooper Hewitt.
118B. BUST OF MARIE ANTOINETTE— Compan-
ion to preceding.
Lent by Miss Sarah Cooper Hewitt.
25
ENGLISH LOWESTOFT AND "ORIENTAL
LOWESTOFT"
119. TEA POT — -Decorated with transfer-printed
landscapes in underglaze blue. Soft paste por-
celain, made at Lowestoft, England, late 18th
century, in imitation of Worcester porcelain.
A GENUINE example shown for comparison
with Chinese so-called ''Lowestoft."
120. CREAMER — Decorated in dark blue, painted
beneath the glaze. Made at Lowestoft, Eng-
land, late 18th century, in imitation of early
Worcestershire porcelain. A GENUINE ex-
ample.
121. TEA POT— Decorated in red and blue. Made at
Lowestoft, England, late 18th century, in imita-
tion of an old Worcester pattern. A GENUINE
example.
122. CREAMER — Decorated in colors with figure
scenes. Made at Lowestoft, England, late 18th
century, in imitation of Chinese porcelain. A
GENUINE example.
123. CUP — Decorated in red, blue and green. Made
at Lowestoft, England, late 18th century, in
imitation of Chinese porcelain. A GENUINE
example.
124. BOWL — Decorated in colors with bird and
flowers. Made at Lowestoft, England, late 18th
century, in imitation of Chinese porcelain. A
GENUINE example.
125. SAUCE BOAT — Soft paste porcelain decorated
in underglaze blue. A GENUINE example of
English Lowestoft of the late 18th century.
Note greenish tint of glaze and dust specks
in the glaze.
Lent by Mr. Albert H. Pitkin.
26
126. CUP Decorated with transfer-printed landscape
in underglaze blue. Made at Lowestoft, Eng-
land, late 18th century, in imitation of Worces-
ter porcelain. A GENUINE example.
127. SAUCE BOAT- Decorated with transfer-printed
landscape in underglaze blue. Made at Lowes-
toft. England, late 18th century, in imitation of
Worcoter porcelain. A GENUINE example.
128. CUP— Decorated with figure subject in colors in
Chinese style. Made at Lowestoft, England,
late 18th century. A GENUINE example.
129. CREAMER— Decorated with floral design in col-
ors, in Chinese style. Made at Lowestoft, Eng-
land, late 18th century. A GENUINE example.
Note the duck's-egg tint of the glaze.
130. PUNCH BOWL— Hard paste porcelain made
and decorated in China, late 18th century. A
GENUINE example, improperly called Lowes-
toft, shown for comparison with true Lowestoft.
131. CREAMER— Helmet shape. Same.
132. SUGAR BOWL— Crossed handles. Same.
133. TEA POT— Crossed handle. Same.
134. VEGETABLE DISH WITH COVER — Deco-
rated with Tomb of Washington. Same.
135. HOT WATER JUG WITH COVER— Same.
136. PLATE — Heraldic design. Same.
137. DISH — Blue edge with gold stars. Same.
138. SUGAR BOWL — American eagle in brown and
gold. Modern imitation of so-called Chinese
Lowestoft. Probably made in Paris.
139. CUP AND SAUCER— Same.
27
140. MUG — Modern imitation of Chinese so-called
Lowestoft, of the late 18th century. Made in
Paris.
Note the streaky blue tinting of the glaze.
141. MUG — Figure scenes painted in enamel colors.
GENUINE so-called Chinese Lowestoft, 18th
century. Shown for comparison with real Eng-
lish Lowestoft soft paste.
HENRI II. FAIENCE
142. BIBERON — Copy of Henri Deux ware, or Fai-
ence d'Oiron, of the 16th century. Made by
Minton's, Stoke-upon-Trent, England, in 1875,
from the original in the South Kensington
Museum. Done by C. Toft.
143. CANDLESTICK— Copy of Henri Deux ware, or
Faience d'Oiron, of the 16th century. Same
series.
144. SALT CELLAR — Copy of a Henri Deux piece
of the 16th century. Same series.
PALISSY WARE
145. WALL PANEL — Rectangular form. Modern
imitation of 16th century ware made by Ber-
nard Palissy. By Victor Barbizet, Paris, 1876.
146. WALL PANEL— Oval form. Modern imitation
of 16th century ware made by Bernard Palissy.
By Victor Barbizet, Paris, 1876.
147. DISH — Fishes and reptiles modeled in relief.
Modern imitation of Palissy ware (rustiqites
iiguliiics) by Victor Barbizet, Paris, France.
28
148. DISH — Circular form. Fishes, shells, reptiles
and leaves in relief. Imitation of Palissy ware.
Modern Portuguese.
149. DISH — Deeorated with lobster, fishes and shells
in full relief. Modern Portuguese imitation of
Palissy ware of the 16th century.
150. DISH — Circular form. Similar to preceding but
larger. Modern imitation of Palissy ware.
Made at Rorstrand, Sweden.
151. DISH — Oval form. Figure design, "Henry IV
and His Family." School of Palissy. Proba-
bly by Guillaume Dupre, France, about 1600.
This is an interesting example made by one
of Palissy's early imitators.
152. DISH — Oval form. Figure decoration. "The Bap-
tism of Christ." School of Palissy. Probably
by Guillaume Dupre, France, about 1600.
These two dishes were probably produced
within thirty or forty years of Palissy's time,
and by most collectors would be classed with
Palissy ware. We know of no example in this
country which with certainty can be attributed
to Palissy himself.
153. DISH- — Oval form. Subject, "The Baptism of
Christ." Palissy school, probably seventeenth
century.
154. DISH— Oval form. Subject, "Abraham and the
Angels." A companion to the preceding.
154A. DISH — Hexagonal form, with masks and other
ornaments in relief. Made in imitation of
Palissy ware by Avisseau the vounger, of Tours,
France, in 1889.
Lent by Mr. Edward Page Mitchell.
154B. DISH — Oval form, with lizard, lobster, frogs,
shells and leaves in relief. An imitation of
Palissv ware by Avisseau the vounger, Tours,
France, 1889.
Lent by Mr. Edward Page Mitchell.
29
GREAMWARE
155. PITCHER — Printed design in red, caricaturing
Napolean and John Bull, entitled "The Gov-
ernor Stoped in His Career." On reverse, in-
scription, "Success to the Volunteers," sur-
rounded by grape-vine and grapes. A modern
copy of an old Liverpool design.
Note the form of the pitcher, whose lip rises
above the top in a curved line instead of being
a continuation of it.
156, 155. Creamware Jugs
Lafayette and Napoleon
Modern Forgeries ; Made in London
156. PITCHER — With transfer-printed design in
black. On one side, bust of Benjamin Frank-
lin wearing fur cap. On reverse, bust of La
Fayette, "The Nation's Guest," in commemora-
tion of his visit to the United States in 1824.
On front, American eagle with inscription,
"Republicans are not always Ungrateful," and
the name of the supposed makers, Ricd. Hall &
Son. Modern imitation of a Staffordshire de-
sign of 1824.
30
NoU* the fine crackle of the glassy glaze, the
name "Fayette" over the bust and' the weak-
ness (it the black printing.
157. PITCHER — Same design as preceding but with
bust of Washington in place of that of Franklin.
Note the coarse crackling of the glaze, into
which black pigment has been rubbea.
158. PITCHER Same as preceding but of somewhat
smaller size and more creamy paste.
[59, 162, 188. Creamware Jug, Bowl and Plaque
With busts of Lafayette, Franklin and Washington
Modern Forgeries, London
159. PITCHERS (Pair.)— Staffordshire form. Same
decoration as preceding.
Note the coarse crackling of the glaze, the
crudeness of the engraving and the heavy ap-
pearance of the ware.
160. PITCHERS (Pair) — Same as preceding but of
smaller size.
161. PITCHER — Same as preceding but slightly
larger.
162. BOWL — Decorated with black printed busts of
Washington, Franklin and La Fayette. ( )n the
3*
interior, a heraldic design labeled "The Ship-
wright's Arms." Modern imitation of an old
Liverpool bowl.
Note the heavy, clumsy appearance of the
ware, the coarse crackling, into which black
pigment has been rubbed, and the pronounced
pinkish tint of the ware.
163. PITCHERS (Pair) — Head of Judy. Modern
imitation of Staffordshire creamware.
Note the thickness and heaviness of the ware,
the tinselly brightness of the gilding and crude-
ness of the finish.
164. LOVING CUP— With two handles. In front,
inscription, "Peter Bates, 1802," painted in
brown and black. Blue borders. Modeled frog
inside. Modern imitation of an old Stafford-
shire cup.
Note the coarse crackling of the artificially
stained glaze and the thickness and clumsiness
of the ware.
165. PLATE (Dinner) — Transfer-printed design in
blue, "Dr. Syntax drawing after Nature/' A
modern imitation of a Staffordshire design
made by James Clews about 1820. Made by a
well-known maker in London, England.
Note the weak, grayish tone of the blue color,
the weight of the ware, which is about one-half
greater than the old, and the artificial crack-
ling of the glaze, which on the back has been
darkened by rubbing in coloring matter.
166. PLATE (Dinner) — Companion to preceding but
different design — "Doctor Syntax bound to a
tree by Highwaymen."
Note the scratching produced by sandpaper,
in imitation of knife marks.
167. PLATE (Soup) — Transfer-printed design in blue,
"Doctor Syntax mistakes a Gentleman's House
32
for an Inn." A modern imitation of a Stafford-
shire design produced by Janus Clews about
1820. Made in America.
Note- the pronounced creamy tint of the white
as compared to the genuine ware, which is of
bluish tone. The glaze and color being fairly
good, but of a more reddish tone of blue, this
is a more dangerous counterfeit than the Eng-
lish copies, as the impressed mark of (lews has
been reproduced.
168. PLATE (Tea) — Transfer-printed design in blue,
"Doctor Syntax and Dairy Maid.'' This i^ a
GENUINE example, made by James Clews, of
Cobridge, Staffordshire, about 1820. Border
design same as preceding.
Note the bluish tint of the white glaze and
the fine quality of the engraving. Shown for
comparison.
169. PLATE — Transfer-print in dark blue. View of
"Gilpin's Mills on the Brandywine Creek."
Modern imitation of an old design by Enoch
Wood & Sons, of Burslem, England. Forged
mark of Wood. Made in America.
170. PLATE- — Transfer-print in dark blue. Supposed
to represent Franklin's Birthplaee. Modern
imitation of an old Staffordshire design.
Forged mark of Wood. Made in America.
171. PLATE — Transfer-print in dark blue. Subject,
"A View near Philadelphia.'' Modern imitation
of an old Staffordshire design. Made in Amer-
ica.
172. PLATE — Transfer-print in dark blue. Subject,
"Near Fishkill." Modern imitation of an old
Staffordshire design. Made in America.
173. PLATE — Transfer-print in dark blue. Subject,
"Erie Canal Eulogy." Modern imitation of an
old Staffordshire design. Made in America.
33
174. PLATE — Transfer-print in dark blue. Subject,
"Baltimore and Ohio Rail Road" (on the level).
Modern imitation of an old Staffordshire de-
sign. Forged mark of Enoch Wood & Sons.
Made in America.
(The above described five plates are much heavier
in weight and yellower in paste than the genuine old
ones.)
175. PLATE — Transfer-print in dark blue. Subject,
"The Baltimore and Ohio Rail Road." A
GENUINE example made by Enoch Wood &
Sons, Burslem, England, about 1830. Shown
for comparison.
Note the clearness of the print.
176. PITCHER— Transfer-print in black. Bust of
Benjamin Franklin. On reverse, eulogy of
Franklin. A GENUINE example of Liverpool
(England) creamware of about 1788. Shown
for comparison.
Note the fineness of the engraving.
177. TOBY — Man seated, holding a jug of beer. Mod-
ern English imitation of an old form.
178. TOBY — Man seated, holding jug of beer and pipe.
A GENUINE old Staffordshire example of
about 1830. Shown for comparison.
179. BUSTS (Pair) — Intended to represent Washing-
ton. Modern imitations of old Staffordshire
figures.
Note the brilliancy of the coloring and the
crudeness of modeling.
180. FIGURE— Benjamin Franklin, labeled "Wash-
ington." Modern Staffordshire reproduction of
an old design.
L S J
181. FIGURE — Same, but varying in detail.
182. FIGURE — Same, but different coloring.
34
' ' .V UT l' l
,/rVer Bates*
179, 164. Creamware Bust of Washington and Peter
Bates Loving Cup
Modern Forgeries ; Made in London
183. PICKLE DISHES (Pair)— In form of leaf. Dec-
orated with blue transfer-print. Willow pat-
tern. Modern imitation of old Staffordshire
china.
Note the coarse crackling and the heaviness
and clumsiness of the ware.
184. CREAM PITCHER— In form of Toby. Modern
design intended to simulate an old one.
Note extreme crudeness of the coloring and
modeling.
185. CREAM PITCHER — In form of grotesque
human head covered with tin enamel and
painted in blue. Modern imitation of Dutch
Delft of the 18th century.
Note. — Nos. 179-185 were made by a manufactu-
rer in London, England.
186 PLATE (Dinner) — Transfer-printed design in
blue, "Doctor Syntax disputing his Bill." This
is a GENUINE example, made by James
35
Clews, of Cobridge, Staffordshire, about 1820.
The beautiful border design is unusual.
Note the intense blue of the decoration, the
lightness of the ware in weight, the bluish tint
of the white and the fineness of the engraving.
Although nearly a hundred years old, the ware
shows no crackling. This beautiful example
is shown for comparison.
187. BOWL — Black transfer-printed portraits of
Washington and Franklin (fur cap). A GEN-
UINE example of Liverpool (England) cream-
ware of about 1788.
Note the thinness of the ware, the excellence
of the engraving and the greenish tint of the
glaze. Shown for comparison.
188. WALL PLAQUE— Oval form, decorated with
black transfer-printed portrait of Washington.
The same portrait that appears in the pitchers.
Note the coarseness of crackling, the clumsi-
ness of the ware, and pale, weak print.
189. WALL PLAQUE— Oval form, decorated with
black transfer-printed portrait of "Dr. Frank-
lin." A GENUINE example of Liverpool
(England) creamware of about 1788.
Note the fineness of the engraving. Shown
for comparison.
190. PITCHER — Decorated with red transfer-printed
portraits of Commodores Perry and Bainbridge.
A GENUINE example of Staffordshire cream-
ware of about 1814. Shown for comparison.
LUSTRE
191. BOWL — Copper lustre. A modern imitation of
old lustre. English.
192. PITCHER — Copper lustre with yellow bands.
A GENUINE piece of the early 19th century.
English. For comparison.
36
GLASS GLAZED POTTERY
193. TILE — In form of an eight-pointed star. Deco-
rated with painting of an animal in brown. The
tile itself is old but has been cut into form and
decorated with oil paint. Some of the decora-
tion lias been removed to show the original
surface. Intended to imitate the Persian tiles
of the 13th century with brownish lustre.
194. TILE (Fragments) — Blue and lustre decoration.
\ eramin. Persia, 13th century. GENUINE
example, shown for comparison.
195. SALT CELLARS ( Pair)— Turquoise blue glaze.
Modern Persian imitation of old pieces.
TIN ENAMELED POTTERY
196. PLATE — Decorated with bird design in green in
the enamel. A GENUINE example of Mous-
tiers stanniferous faience of the 18th century.
197. PLATE — A modern imitation of the same design.
Probably made in France.
Note the black outlines of the decoration,
which are painted orer the enamel instead of in
it. The painting appears dry and dull, while
in the original it is glossy. By comparing the
two plates, the crudeness of the painting of the
copy will be apparent.
198. PLATE — Painted in bright colors in the enamel;
Cornucopia design (faience a la come). A GEN-
UINE example of stanniferous faience of the
18th century. Made at Rouen, France.
199. PLATE — Modern imitation of a Rouen (France)
design, known as the Cornucopia pattern, of the
18th century. Made at Gien, France, in 1875.
Note the transparent lead glaze. Genuine
Rouen ware of this character was coated with
opaque tin enamel.
37
200. PLAQUE— Modem imitation of a Rouen piece
of the 18th century. In centre a heraldic (le-
sion. Border in lambrequins style. Made at
Giens, France, in 1875. Glazed with lead
instead of tin.
201. PLATE — Blue decoration, heraldic design in
centre, "Brodcric" border pattern. Made at
( Hen, France, 1876. Modern imitation of a
Rouen design of the 18th century.
Note the lead glaze, instead of tin, which
was used on the old faience.
202. PLATE — Blue decoration. Made at (lien, France,
1876, in imitation of an old Rouen design.
203. GROUP — Pug" dog and two puppies in yellow-
enamel. Modern imitation of old Holland Delft
ware.
204. PLATTER — Openwork border, decorated in col-
ors to imitate an old piece of tin-enameled pot-
tery. On the back is a false mark of Hannong,
who was connected with the old factory. A
careful examination of the decoration shows
that the central heraldic design has been
printed in outline and filled in with colors — a
process never employed at the old factory. It
is a modern imitation of old Strasbourg faience.
205. PLATES (2) — Italian scene painted in central
medallion, blue and gold border. Tin glaze.
Modern imitation of Naples porcelain of the
18th century.
206. PLATTER— Same.
207. COVERED DISH— Same.
208. PLATE — Decorated with a cursive N in centre,
composed of tiny flowers. Tin glaze. Same
ware as preceding.
38
MAIOLICA
ITALIAN
209. PLATEAU -- Modern imitation of Caffagiolo
maiolica dish of the 17th century, with heraldic
design in centre surrounded by grotesque fig-
ures. Made in Italy.
210. TAZZA — In the centre, crowned figure of the
Virgin. Modern imitation of Faenza maiolica
of the 17th century. Italian.
211. PLATE — Modern imitation of Gubbio lustred
maiolica. Forged date (1526) and mark of
Maestro Giorgio. Italian.
212. PLATE — Decorated with central caricature sur-
rounded by grotesque figures in brown and
green. Modern imitation of Caffagiolo maiol-
ica. Italian.
213. PLATE — Central design of Cupid surrounded by
grotesque figures. Modern imitation of Caffagi-
olo maiolica of the 17th century.
214. PLATE — Central design of Cupid warming his
hands over a brazier, surrounded by arabesque
with grotesque figures, interspersed with four
medallions containing- figures painted in blue.
The painted decoration is lustred. Modern imi-
tation of old Italian maiolica. The edges and
base have been chipped to imitate wearing of
the glaze and filed to simulate age marks. In-
stead of being covered with tin enamel, as is
genuine maiolica, it is glazed with lead.
215. PLATE — Figure subject, "Finding of Moses,"
painted in colors ( istoriato style). Modern
Italian copy of an Urbino plate of 1523.
216. PLATE — Landscape rudely painted in purple
lustre on a golden lustre ground. Modern imi-
tation of old Gubbio lustre maiolica. Italian.
39
217. TAZZA— In centre, figure of Cupid carrying a
ball. Surrounding central medallion, diapered
patterns divided into four sections. Modern
imitation of old Faenza maiolica. Italian.
HISPANO-MORESQUE
218. PLAQUE, or DISH— Sunken cavetto with large
conical boss, surrounded by four rosettes in
blue, in centre. Conventional floral design in
relief around marly. Ground work of ara-
besques in violet and copper lustre. Diameter.
19 J/? inches.
This is one of the best modern imitations of
Hispano-Moresque ware of the 16th century
we have seen, the lustre being particularly good
for modern ware.
219. PLAQUE, or DISH— Central design of a wolf
surrounded with bands of wheel and leaf pat-
terns. The marly is ornamented with embossed
godroons running diagonally. The entire deco-
ration is in remarkably brilliant lustre of yel-
lowish brown, changing when viewed from dif-
ferent angles to a beautiful golden, rose, lilac,
blue and madreperla with touches of green.
Diameter. 18 inches. A GENUINE example of
Hispano-Moresque ware of the 16th century.
Exhibited for purposes of comparison.
220. DISH — Lion in blue surrounded by copper lustre
leaf diapering. Modern imitation of a Hispano-
Moresque piece of the 15th century, in the Mu-
seum at Madrid.
Note the poor quality of the lustre, (dazed
with lead instead of tin.
221. TEA POT— Tall hexagonal form. Panels deco-
rated in relief in the style of the old cuenca tiles
of Seville, covered with glass glaze. Flat wing-
shaped handle. Modern Spanish imitation.
40
MEXICAN
222. COVERED JAR— Decorated in dec]) blue, with
cherubs' heads and foliage. A modern revival
of the old Mexican maiolica, by Senor Enrique
L. Ventosa, of Puebla, Mexico. His produc-
tions arc neither reproductions of the old ware
nor intended to deceive, but represent a new
development of the art after the old methods.
223. PLAQUE — Decorated in deep blue with double-
headed eagle of the Austrian Dynasty. An
adaptation of an early design. By Senor En-
rique L. Ventosa. Modern Mexican.
224. PLATE — Decorated in dark blue, yellow and
green. After a design on an old Mexican mai-
olica tile (see original, shown under No. 229).
By Senor Enrique L. Ventosa. Modern Mex-
ican.
225. PLATE- — Similar to preceding but decorated with
a bull (see original, shown under No. 228).
226. PLATE — Double-headed Austrian eagle in dark
blue. By Senor Enrique L. Ventosa. Modern
Mexican.
227. PLATE — Dragon painted in dark blue. By
Senor Enrique L. Ventosa. Modern Mexican.
228. TILE — Decorated with figure of a bull in poly-
chrome. An ORIGINAL example of Mexican
maiolica, from an old church in Puebla, Mexico ;
dating from about 1750. Shown here for com-
parison with No. 225 above.
229. TILE — Companion to preceding with painting of a
bird in polychrome. Made at Puebla, Mexico,
about 1750. Shown here for comparison with
No. 224 above.
4i
230. BOWLr -Decorated with foliated pattern in dark
blue. A GENUINE piece, made under Spanish
influence at Puebla, Mexico, about 1750. Shown
for comparison.
231. CORNER TILE--Decorated with head of cherub
in hlue in white medallion reserved in a hlue
enameled ground. A GENUINE example made
at Puebla, Mexico, about 1750. Showing one of
the designs of which Senor Ventosa's work is an
adaptation.
SALT GLAZED STONEWARE
232. GREYBEARD JUG— Brown stoneware dated
1687. Modern imitation of Frechen salt glazed
stoneware of the 17th century. Made at Cologne,
( rermany.
23?>. GREYBEARD JUG — Salt glazed stoneware dated
1850. Made by Jacob Aver Sonne, Koln, in imi-
tation of Frechen stoneware of the 17th century.
234. CANNETTE — Modern imitation of the white
stoneware made at Siegburg, Germany, in the
late 16th century ; modern pewter lid.
235. CAXXETTE — White stoneware, made at Sieg-
burg in the late 16th century. A GENUINE
example, shown for the purpose of comparison.
236. SMALL MUG — Brown glazed stoneware. Mod-
ern imitation of stoneware of the 17th century,
made at Kreussen, Bavaria, having a modern
pewter lid. Made in Germany, late 19th century.
237. GREYBEARD. OR BELLARMIXE— Mottled
brown glaze. Made at Frechen, Germany, 17th
century. A GENUINE piece, for comparison.
238. JUG — Tiger-skin glaze. A GEXU1XE piece of
the 17th century, from Frechen, ( lermany.
Lent by Mr. Albert H. Pitkin.
42
Siegburg White Stoneware
234. The First, A Modern Imitation
235. The Second, A Genuine Piece of the
Sixteenth Century
239. DRUG JAR — Brown stoneware, relief decorations.
A genuine piece of Kretissen ware of the early
18th century, but superficially painted to imitate
the Kreussen enameled stoneware of the 17th
century.
240. DRUG JARS (2)— Same ware and period. GEN-
UINE examples throughout. Shown for com-
parison.
43
CLASSICAL POTTERY
241. OINOCH( )E — Handle in form of a female figure.
Modern Copenhagen imitation of an antique
design.
242. ASKOS — Modern imitation of a red-figured vase
of ancient Greece.
243. LAMP' — Decorated with five-branched candlestick
in relief. Modern imitation of an old Roman
form.
244. LAMP — Decorated with seven-branched candle-
stick. A GENUINE example of the Christian
era, from Jerusalem, shown for comparison.
245. LAMP — Design, two warriors in relief, righting.
Most of this lamp has been restored, very little
of the original remains.
246. LAMP — Roman, early Christian era, shown for
comparison.
247. STATL^ETTE — Modern imitation of an old Tan-
agra figurine.
Note the clumsy modeling.
248. FIGURINE ( Tanagra ) — A GENUINE example
of the 4th century B. C, shown for comparison.
249. STATUETTE — Original antique body, head mod-
ern.
250. STATUETTE — Figure of Eros. Modern imita-
tion of old Roman pottery.
251. STATUETTE — Subject, Eros and Psvche. Greek,
400-200 B. C. A GENUINE example, shown for
comparison.
252. FIGURE — Woman carrying child. The head, en-
tirely too small for the body, is modern. The
figure is ancient Roman.
253. ASKOS — Relief design copied from the Borghese
marble krater in the Louvre. A modern adapta-
tion of an old design.
44
254. RHYTON— In form of a satyr's head. Modem
imitation of a red figured vase of 500 1' !( I B. I .
The black glaze can be readily scraped off with
a knife or washed off with strong alcohol, which
is impossible in original vases of this character.
In addition, the red figures of the originals are
surrounded by a heavy black line of glaze which
i- not so with the reproductions.
255. RH^ T< )\ — In form of cow's head. ( hi neck red-
figured decoration. Eros seated. A GENUINE
example, from Apulia, Italy, 300-250 B. C.
Shown for comparison.
256. VASE (Kalpis) — Modern imitation of a Greco-
Roman black-figured vase: subject, "Death of
Patroclus." Made by P. [psen, Copenhagen.
Denmark, 1876.
2?7. \ ASE I Amphora ) — Modern imitation of a Greco-
Roman red-figured vase. Made by same.
258. AMPHORA (Nolan)— Red-figured style. Subject,
Athena and Warrior. A fine GENUINE ex-
ample of the period of 500-470 B. C. Shown for
comparison.
259. LEKANE — Modern imitation of red-figured style.
Made bv Ipsen, Copenhagen. 1876.
260. LEKYTHOI (2) — Modern imitations of Greek
black-figured vases of about the 4th century B. C.
261. LE PASTE — Modern imitation of a red-figured
bow 1 of ancient Greece.
262. PELIKE — Modern imitation of a red-figured Greek
vase of about 400 B. C.
263. LAMP — In form of a grotesque head. Modern
imitation of an old Roman design.
264. LAMP — Fish shape. Modern imitation of an early
Roman design.
45
WEDGWOOD
265. BUCKLE — Modern imitation of old Wedgwood
jasper. Female figure modeled in white wax,
mounted on blue paper, under glass.
266. BUTT( )N — Figures of mounted knights in white
relief on blue ground. Imitation of old Wedg-
wood jasper. Probably from the Sevres factory.
267. B( )WL — Modern imitation of Wedgwood jasper.
Border design in white relief on dark green
ground.
Xote the poor quality of the reliefs. Probably
modern English.
268. PLAQUE — Rectangular form, with modeled figure
scene in high relief ("The Judgment of Paris'').
Figures in white against light blue ground. In
imitation of Wedgwood jasper. A modern repro-
duction from an old mold at the Sevres factory.
Note the muddy and irregular color of the blue.
269. LARGE PLAQUE— Oval form, with man's pro-
file in relief. Modern imitation of Wedgwood's
basaltes ware of the late 18th century.
270. MEDALLION— Profile of Cardinal Mazarin, in
relief. A GENUINE example of basaltes,
marked "Wedgwood & Bentley." Made about
1768. Shown for comparison.
271. WAFER TRAY— Light blue "solid" jasper with
applied white reliefs of the Dancing Hours. A
GENUINE example, made by Josiah Wedgwood,
Etrufia, England, about 1780. Shown for com-
parison.
46
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POTTERY
272. TEAPOT — Red stoneware, applied relief decora-
tions. Made in Delft, Holland, about 1675, by
Ary de Milde, in imitation of the Chinese red
boccaro ware of the same period. A GENUINE
example, with original mark, — a running fox and
the name of the maker.
273. TEAPOT — Red ware. A modern imitation of the
preceding, with copied mark. The genuine piece
and reproduction are shown together.
274. TUMBLER, or CUP— Red clay, sgraffito decora-
tion, tulip design, inscription and date 1793. A
modern imitation of an old Pennsylvania-Ger-
man piece. Made by the Moravian Pottery,
Doylestown, Pa.
275. CUP — Red clay, white slip coating, sgraffito leaf
design. Pennsylvania-German ware of about
1830. A GENUINE example, shown for com-
parison.
276. CREAMER — In form of a cow. Brown glazed
pottery. A modern imitation of an old English
design. This specimen is nearly double the
usual size.
277. CREAMERS (2)— In form of cows. Brown
glazed, buff pottery. Modern imitations of an
old form. Made in Philadelphia, late 19th cen-
tury.
Note the plain brown glaze, which also occurs
beneath the base.
278. CREAMERS (2)— In form of cows. Mottled
brown and yellow glaze (so-called Flint Enam-
eled Ware). GENUINE examples, shown for
comparison. Made at Bennington, Vt., about
1850-1856.
Note the brilliancy of the glaze, and the deli-
cacy of the mottling, which is continued under-
neath the base.
4 8
279. TOBY JUGS (3)- Brown and black glazes.
Modern imitations of an old English form.
Made in Philadelphia, late 19th century.
Note the ball-shaped hollow in the base. By
tin's peculiarity these modern pieces may he
known.
280. TOBY JUGS (2) -- Twelve-sided. GENUINE
examples of brown glazed ware made at the old
Jersey City Pottery about 1840. Marked.
Shown for comparison.
281. TOBY [UG— Mottled brown and yellow pottery.
A GENUINE example, made by W. W. P. Ben-
ton, Perth Amboy, N. J., about 1860. Shown
for comparison.
282. TOBY JUG — Streaked glaze — brown, yellow and
green. A GENUINE piece of old American
ware dating- from about 1850. Shown for com-
parison.
283. TOBY JUG — Brown glazed ware. Grape-vine
handle. A GENUINE old example of about
1840, probably English. The base is flat. Com-
pare with No. 279.
MEXICAN POTTERY
284. VASE — Black pottery, decorated with grotesque
masks and heads in relief, and incised designs.
A modern imitation of ancient Aztec pottery.
Made at San [nan Teotihuacan, Mexico.
Black ware of this eharaeter was never made
by the early Mexicans, but is now produced in
great abundance for sale to tourists.
285. VASE — Black pottery, with grotesque human
He1
49
figure and mask reliefs. Mexico.
286. PITCHER VASE — Black pottery, with gro-
tesque figure reliefs and serpent handles.
Mexico.
287. GROUP — Black pottery. Turtle surmounted by
a coiled serpent. Mexico.
288. IMAGE— Black pottery. Seated figure.
288A. IMAGE— Black Pottery. Modeled in low relief.
288B. GROTESQUE FIGURINE — Reddish clay,
whistle.
289. CIRCULAR PLATE ( Calendar?)— Black clay.
Found near Lake Chapala, Guatemala.
290. MASK — White marble carving. Mexico.
The eight pieces numbered 285-290 are lent by the
Smithsonian Institution.
291. COVERED VASE— Decorated with grotesque
heads in relief and bands of incised ornament,
the cover being modeled in the form of a human
figure.
Lent by Prof. William H. Holmes, who as
long ago as 1883 called attention to the spurious
character of this class of Mexican pottery, in
his article "On some Spurious Mexican Antiqui-
ties and their Relation to Ancient Art," and who
quotes the following from Desire Charnay's
Lcs Anciennes failles du noveau Monde: "The
fabrication of these pieces goes back as far as
1820 or 1826. This grand hoax was conceived
in Tlateloco Street, and the fortunate inventor
must have made his fortune thereby, to judge
from the immense number of vases dispersed
by him. Most of the museums are infested by
them, to say nothing of private collections."
5o
MISCELLANEOUS
292. MUG — Modern imitation of the "Terra Sigillata"
or "Ancient Buccaros" of scented earth, which
were a mania in Europe during the 17th cen-
tury. The name was derived from the stamp
or seal with which they were marked. No gen-
nine examples are known to have survived.
GLASS
293. PASSGLAS, or MEASURING GLASS— Deco-
rated in enamel colors with inscription and date
1748, horizontal rings separating the glass in
vertical sections to grade the amount of liquor
to be drunk. Modern imitation of a German
drinking glass of the middle of the 18th century.
294. BEAKER — Decorated with heraldic designs in
enamel colors, inscription signed Paulus Puch-
ner Hurst, Meister zu Dresden, and date 1587.
A modern reproduction of a German drinking
glass of the 16th century.
295. PASSGLAS — Decorated with figure design in
enamel colors. Inscription and date 1662. A
GENUINE example made in Germany in the
17th century. Exhibited for comparison.
296. PASSGLAS — Decorated with coats of arms
of three trade guilds in enamel colors, with
inscription and date 1745. A GENUINE ex-
ample made in Germany in the 18th century.
297. TUMBLER— Decorations engraved in gold-foil
/o placed between two thicknesses of glass, called
Zwischenglas (doubled glass) or Zwischengold-
glaser. Ruby glass base. A GENUINE ex-
ample made in Bohemia. Mid-18th century.
298. GOBLET— Modern Venetian imitation of Zwisch-
*z „ , ensdas of the 18th century.
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299. BOWL — Modern Venetian imitation of early
"Christian glass," from the original in the
library of the Vatican; from the Catacombs in
Rome.
300. WILLKOMM-BECHER— Decoration in enamel
colors, arms of the Butchers' Guild. A GEN-
UINE old example of greenish glass dated
1676. Shown for comparison.
301. PASSGLAS — Decorated with a representation of
a playing card, in enamel colors. Modern imita-
tion of a German drinking glass of the 17th
century.
302. PASSGLAS — Decorated with representation of a
playing card, in enamel colors. Modern imita-
tion of a German drinking glass of the 17th
century.
303. BOTTLE — Hexagonal form, surmounted by a
funnel-shaped neck. The glass is old but the
figure decoration has more recently been super-
ficially painted in white and covered with varnish.
Swedish.
304. VASE — Globular body with funnel-shaped neck.
Three loop handles. The decoration, in enamel
colors and gold, is in Moorish style. The inte-
rior has been coated with silver paint. Modern
Spanish imitation of an old piece of the 15th
century.
305. ROSE WATER SPRINKLER— Globular form
with bell-shaped base, two upright spouts and
large ring handle. Decorated with vertical bands
of white enamel hatching. Modern Spanish imi-
tation of Barcelona glass of Venetian style, 18th
century.
306. POCAL — Drinking glass on tall, bulbous stem.
Engraved decoration of Venus and Cupid. Mod-
ern German imitation of an 18th century glass.
53
302. Passglas. Modern Imitation
309. WlLLKOMM-HUMPEN
Genuine Piece, dated, 1647
307. GOBLET — Wine-glass form. Decoration with
German inscription. Modern German imitation
of an old design.
308. WILLKOMM-HUMPEX. OR ADLER-HUM-
PEX — Decoration in enamel colors, double-
headed eagle of the Holy Roman Empire with
54
outspread wings on the feathers of which are
painted the arms of fifty-six electors and mem-
bers of the empire. Date 1616. A modern imi-
tation of an old German design.
309. WILLKOMM-HUMPEN— A GENUINE old ex-
ample bearing the date 1647.
Compare with the preceding, in order to see
the difference between the quality of the glass
and the decoration.
310. STAINED GLASS PANEL, LEADED— Her-
aldic designs, etc., in various colors of stained and
painted glass. Modern imitation of Swiss house-
hold glass of the 16th century.
311. STAINED CLASS PANEL, LEADED— Fig-
ure subject in stained and painted glass of various
colors, with date 1550. Modern imitation of
Swiss household glass of the 16th century.
312. CURTAIN KNOB— Rosette of opalescent, pressed
glass. Long white metal stem. Modern Amer-
ican imitation of a mid-nineteenth century design.
These reproductions are sold extensively.
IVORIES
313. CARVED IVORY FIGURE OF CHARLE-
MAGNE — Modern imitation of German ivory of
the 15th century.
314. CARVED IVORY GROUP OF TWO FEMALE
FIGURES ("The Visitation") — Modern imita-
tion of Italian carved ivory of the 13th century.
315. CARVED IVORY GROUP ("Elevation in the
Parvis" ) — Modern imitation of Italian carved
ivory of the 15th century.
316. CARVED IVORY GROUP ("The Conversion")
— Modern imitation of Italian carved ivory of
the 13th century.
55
3I5j 3 x 3j 3 l 7- Ivories
Modern Imitations of Old Examples
317. CARVED IVORY GROUP < "The Coronation")
— Modern imitation of Italian carved ivory of the
16th century.
In all of the above described pieces, note the
crudeness of the carving and the black lines which
have been artificially produced in the grain of the
ivorv by staining, to imitate great age.
318. GROUP— Madonna and Child.
ample, Spanish, 17th century
parison.
56
A GENUINE ex-
Shown for com-
319. GROUP — Four figures of men and boys. Modem
imitation of old Japanese ivory.
320. GROUP — Five figures. Modern imitation of old
Japanese ivory.
Note the crude carving and coloring of these
two examples of modern art.
321. GROUP— Monkeys and serpent. A GENUINE
Japanese carving. Shown for comparison.
322. NETSUKE— Man and boy in boat. Same.
323. NETSUKE— Group. Same.
METALWORK
PEWTER
324. WAFER TRAY— Relief medallions of Scriptural
scenes. Modern reproduction of a German de-
sign in the British Museum dated 1619.
325. DISH — Head of a Bishop in relief in centre, in-
scribed, "Sanct Leodigari 1647." Modern repro-
duction of a design of the 17th century.
Note the scratching of the surface, produced
by the use of sandpaper, to simulate age marks.
326. PEWTER FLAGONS (6)— With hinged lids, and
inscribed names and dates ranging from 1783 to
1806. Modern reproductions of old German
forms.
327. PEWTER TANKARD— Hinged lid, and incised
decoration. On the lid the date 1793. A mod-
ern imitation of an old German form, made of
spun pewter, and battered to imitate hard usage.
57
326. Pewter Flagons
With Eighteenth Century Dates
Modern Reproductions
SILVER
328. PORRINGER — A modern imitation of an old
piece, with forged mark of Samuel Vernon, a
silversmith of Newport, R. I. (1683-1737).
329. PORRINGER— A GENUINE example, made by
Benjamin Burt, a silversmith of Boston, Mass.
(1729-1804). Shown for comparison.
330. CAN — A genuine old piece with recent forged
mark of John Burt, who was a silversmith in
Boston between 1691 and 1745. The mark is
in two places, on the outside of upper rim and
on base.
58
331. TABLE SPOON An old example, made aboul
1820, with recent forged mark of Revere. Paul
Revere, the Boston silversmith, was in business
From aboul 1735 to 1818.
332. TABLE SPOON Marked Revere. An exceed
ingly crude imitation of an old design.
Lent hv Mr. Georcre C. Gebelein.
333. TABLE SPOONS (2)— Coffin-shaped handles.
Marked Revere. The spoons themselves are
probably old, but as the mark varies from the
well-known Revere marks, these pieces are open
to suspicion.
334. TABLE SPOON— "Rat tail" pattern of the mid-
dle of the 18th century. Marked I. E. (proba-
bly intended for Joseph Edwards, of Boston).
A modern fake.
Lent by Mr. George C. Gebelein.
ENAMELS ON METAL
335. ETUI, or BODKIN CASE— Dark blue lozenge
pattern on white ground with gold lines. Mod-
ern French imitation of old enamel.
Note the new appearance of the enamel and
the metal mounts.
336. SALT CELLAR — Enamel on metal. Modern
French imitation of an old Limoges enamel.
337. SALT CELLARS (Pair) — Imitations of old
painted enamels on metal. Modern French.
338. MATCH BOXES (2)— Imitations of old painted
enamels on metal. Modern French.
339. SNUFF BOX — Gilded metal with painted enamel
lid. Modern French imitation of an old design.
340. SNUFF BOX— In form of a walnut. Modern
German imitation of an old design.
59
341. SNUFF BOXES (5)— In form of birds. Modern
German imitations of old enamels.
342. SNUFF BOXES (2)— In the form of pug dogs.
Modern German imitations of old enamels.
343. BONBON BOX— In the form of a turbaned ne-
gro's head. Modern German imitation of an
old enamel.
344. BONBON BOX— In form of a dog's head. Mod-
ern German imitation of an old design.
345. BONBON BOX— In form of an apple. Modern
German imitation of an old design.
346. SCENT VIALS (4)— Imitations of old painted
enamels on metal. Modern German.
347. ETUIS, or BODKIN CASES (9)— Modern Ger-
man imitations of old enamels on metal. Vari-
ety of shapes, colors and decorative designs.
348. ETUI, or BODKIN CASE — White medallions
containing painted figure scenes, surrounded by
rococo frames in raised gold, in light blue
ground. A modern imitation of old Battersea
(England) enamel.
349. SCENT VIAL — Figure scenes painted in medal-
lions surrounded by rococo gold frames, in deep
blue ground. A modern imitation of old Bat-
tersea.
Note the crudeness of the painting and the
poor quality of the gilding.
350. BONBON BOX — Medallions on sides and lid
painted with birds and flowers in colors. A
GENUINE example of Battersea enamel of the
18th century.
Note the fineness of the painting and the
brilliancy of the enamel.
6o
351. BONBON BOX Another of similar form and
period with turquoise ground. A GENUINE
example.
352. ETUI, or BODKIN CASE— Landscapes painted
in colors in medallions, surrounded by rococo
frames in gold, in a pink ground. A GENU-
[NE example of Battersea enamel of the 18th
century.
354. Modern Imitation of Champ-
leve Enamel
Reliquary of the Thirteenth Century
French
353. ETUI, or BODKIN CASE — Of similar form.
Medallions surrounded by dark blue ground.
A GENUINE example of old Battersea enamel.
354. RELIQUARY— Figures of Christ and His Apos-
tles in enamel on copper. Modern French imi-
tation of Champleve enamel of the 13th century.
61
355. PLATE — Enamel on metal. Subject, "David
Triumphant." Modern imitation of Limoges
enamel of the 17th century.
356. PLAQUE — Enamel, on metal. Subject, "Magda-
lene." A GENUINE example of Limoges en-
amel of the 17th century, by Laudin. Shown
for comparison.
357. ETUI, or BODKIN HOLDER — GENUINE
Battersea enamel of the 18th century. Land-
scapes in white medallions surrounded by dark
blue ground. Shown for comparison.
358. BONBON BOX— GENUINE Battersea enamel
of the 18th century. Figure scene in colors on
white ground, surrounded by green enamel.
Shown for comparison.
359. PLAQUE— Enamel on metal. Subject, "Magda-
lene." A GENUINE example of Limoges en-
amel of the 17th century, by Laudin. Shown
for comparison.
360. CUP AND SAUCER — Modern imitations of
Limoges enamel of the 17th century.
BRASS AND BRONZE
361. BRASS VASES (Pair)— Handles in the form of
modeled boys ; engraved decoration. Modern
imitations of European brass work of the 17th
century.
362. BRASS SPECTACLE BOX— Engraved decora-
tion, with representation of calendar months
with dates 1497 and 1582. Modern imitation of
an old German design in brass.
363. BOTTLES (Pair)— Ruby glass, encased in metal
with openwork and engraved design — grotesque
figures and masks. Modern Italian imitation of
17th century work.
62
364. BUST (Diana) ( icnnine solid bronze, with
brown oxidation.
365. BUST (Diana) A zinc imitation of the pre-
ceding", first plated with copper, tlicn with
silver, to represent a silver piece.
366. FIGURE (Elephant)- A modern Japanese fake,
made of white metal, oxidized or painted to
represent bronze.
367. FIGURE (Tiger) — Solid bronze, GENUINE
piece, showing natural color before oxidizing.
368. FIGURE (Horse) — Solid bronze, GENUINE
piece, with green oxidation.
The above described five pieces are lent by Mr. C.
J. Kling, to show the difference between genuine and
imitation bronze.
CAST IRON
369. STOVE PLATE— Design in relief, "The Temp-
tation of Joseph." A GENUINE example of
Pennsylvania- German workmanship, dated
1749.
370. STOVE PLATE — A modern reproduction of pre-
ceding.
371. STOVE PLATE— Design in relief, "Samson and
Delilah." A GENUINE example, Eastern
Pennsylvania, dated 1756.
372. STOVE PLATE— Subject, "Cain and Abel." A
modern reproduction of an old design dated
1741.
63
Printed
At the Sign of the Ivy Leaf in Sansom Street
Philadelphia
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